One of the major arguments discussed in social and cultural semiotics is the question of norms and semiotic codes. In fact, the individual defines him/herself - in society to which he belongs - through the semiotic codes he produces. What the individual generates as his semiotic codes (behavioral, linguistic or clothing) not only tends to define him positively, but it also defines him negatively, for it shows how he fails to belong to other social groups.What is principally discussed in this article is to distinguish two types of norms: objective norm and evaluative norm. Afterwards, it aims to point to two forces - centrifugal and centripetal- that result in separation or fusion of the semiotic codes. Considering these two objective and evaluative norms, two social phenomena including security semiotics and insecurity semiotics will be explained.Eventually, this writing elaborates on the phenomena of silence, hypercorrection, compensation and semiotic confusion, that are raised as reactions to the phenomenon of insecurity semiotics. Clearly to make theses idioms more comprehensible, different examples will be presented from various fields, specifically literary field.

Social semiotics is a branch of semiotics that examines institutions and signs within the context of society and culture. The story of Leily and Majnoon, regarded as one of the most significant lyrical works of Persian literature, explores Arab tribal culture and its social systems. This research focuses on the social semiotics of the character Majnoon, aiming to analyze his moral and behavioral traits within the cultural and situational context of Arab society by examining the signifiers and signified. The poem of Leily and Majnoon is analyzed from both a semiotic and a social perspective, categorized according to the semiotic effects it presents. Majnoon embodies a social and cultural persona; thus, understanding his character necessitates an examination of the role of culture. He possesses distinct and unique characteristics from a social standpoint, fundamentally representing a conflict between madness and social abnormality. Majnoon's interactions with various phenomena, such as death, as well as certain habits like eating and his overall lifestyle, contribute to his unique traits. The social dimension of the hero's character in different narratives is invariably influenced by the culture of a society.Introduction:Leili and Majnun, authored by Nezami, narrates a love story set within Arab tribal culture and its social system. It is regarded as one of the most significant lyrical works of Persian literature. This research focuses on a social semiotic analysis of the character Majnun. Social semiotics is a branch of semiotics that examines institutions and signs within the context of society and culture. In essence, semiotics serves as a method for uncovering the underlying logic of social functions.Regarding the methodology of this article, it is important to note that semiotics has been used both as a method and as a theory. However, the position of the theoretical dimensions of semiotics, and especially the social dimension of this thought and method in Persian literature are naturally discussed. In the methodology section, we are dealing with a continuous text, which is Leili and Majnun by Hakim Nezami Ganjaei. It is necessary that the story is explored from a semiotic perspective, also from a social aspect. Followed by that, the aspects related to the discussion are categorized. Therefore, in the report of the work and the main discussion, we are faced with categories that are witnessed by semiotic manifestations; therefore, first these categories are carefully extracted and then arranged and written.Social semiotics is a distinct branch of semiotics that integrates the cultural dimensions of social life and the narratives of its protagonists, diverging somewhat from the traditional semiotics of Saussure and Peirce. Nevertheless, it operates within the same framework of signifier, signified, and the sign itself, as the characteristics of a text and the behaviors of a protagonist extend beyond mere symbolism and are a result of signifiers. In this study, the traits of Majnun effectively lead us to the signifiers; however, addressing these features is approached through cultural and social interpretations. The primary hypothesis of this research posits that Majnun is perceived as an abnormal individual through the lens of semiotics. The authors aim to explore the moral and behavioral characteristics of Majnun within the cultural and situational context of Arab society by analyzing both signifiers and their corresponding signified ones.Majnun is recognized as a distinctive social and cultural figure, characterized by his unique experiences and challenges. His name signifies a departure from conventional cultural vocabulary, and understanding his character necessitates a focus on the role of culture. To this end, the intricate semiotics of Majnun's character within the cultural context, along with its relationship to societal culture and its cultural influences, are examined. Fundamentally, Majnun is portrayed as an introverted and nearly antisocial individual.He has avoided his classmates from the very beginning, has few friends, and his friendships are typically formed through chance encounters and coincidences. He possesses a one-dimensional personality and exhibits signs of depression and isolation. In fact, he is someone who does not fit in with the crowd; even among friends, he prefers to retreat to the mountains and deserts, avoiding human interaction. In Nezami's work, Majnun shares a profound connection with madness. The poet asserts that she had no flaws at the time of her birth and until she turned ten, and her beauty was so renowned in the city that prayers were offered to protect her from the evil eye. The story of Majnun's madness truly begins after he encounters Laila, and initially, he pretends to be insane.Majnun considers himself crazy and on the one hand he considers it impossible to reach Leili; therefore, he lives with Leili's sadness and not with the hope of her reunion. This issue expresses the characteristic of Majnun's self-harm. On the other hand, he is fatalistic and considers the issue of Laila's reunion impossible. We know very well that a lover should seek reunion and basically, even if the connection to the beloved is far from the mind and illogical, the lover will still seek this connection and try to make it seem logical. But here Majnun easily accepts the lack of reunion, considers himself crazy, and has a tendency to depression and self-harm, as well as to act crazy.For readers of a work by Schacht, the protagonist of the story is of great importance, and in fact, the protagonist of the story of Leili and Majnun is an abnormal human being. Although this somewhat diminishes the divinity of Majnun's love and may not be to the taste of the readers of the work, the reality is that the author of the work considers Majnun to be so crazy and abnormal that he does not distinguish good from bad, and this is a characteristic of someone who is definitely not worthy of independence or even marriage. According to modern psychology, Majnun is suffering from masochism and self-harm. In the pilgrimage to the Kaaba, Majnun asks God for nothing but to increase his suffering, because he enjoys this suffering, and the main issue here is that the cause of this suffering is love, meaning that in fact, the cause of Majnun's self-harm is the problem and concept of love.In examining Majnun's relationship with animals, it is important to note that he does not possess an animalistic nature; rather, he attributes human qualities to animals. This suggests that although Majnun is perceived as mad, he remains fundamentally human and cultured. He carries this culture with him and even imparts it to the animals. According to labeling theory, we can analyze that Majnun is not inherently insane; instead, he is labeled as such due to societal perceptions. This societal view has led to Leili's father rejecting him. Furthermore, Majnun becomes so immersed in his role that he loses the ability to distinguish between sanity and madness, ultimately embodying the behaviors of a madman. Based on semiotic principles and the analyses presented in the text, it is evident that Majnun is considered abnormal. Nezami intentionally portrays Majnun's behavior as erratic within this love fraught with suffering. If we analyze the work through the lens of traditional semiotic theory and the author's perspective, we can conclude that Majnun may indeed be genuinely mad, as evidenced by his actions.

Jalal Al-e-Ahmad as a realist novelist in his works sought to reflect the events and social and cultural issues in Iranian society. Like his other works, the School Principal is a reflection of the failure of the experience of modernity in Iran. In fact, the narrated story of the school by Jalal is an expression of the Iranian community, which has experienced the simultaneous presence of traditional values and beliefs and modern releases in opposition to each other. The present study seeks to investigate and discover the evidences of modernization in the School Principal novel of Jalal-al-Ahmad with the approach of social semiotics. The results of the research, based on the twelve steps of the social semiotics approach to Theo van Leeuwen, showed that the Iranian society, regardless of the traditional beliefs and values, has renovated and entered modern elements in the field of education and other areas of social life, and in spite of material costs And a remarkable human being, in practice, the process of Iranian modernization has survived. Although the author does not offer a particular alternative to this situation, the evolution does not seem to be unattainable.

In describing Iranian painting, especially with religious and metamaterial subjects, the emphasis is always on introversion, the mysterious world, the mystery and the sacred realm of these works. But, despite the transcendent nature of these paintings, the human aspect and social contexts of the formation of these works should not be neglected. Because these paintings, in addition to the mission of expressing the truths of heaven, such a cultural atlas, also reflect the ideological space, historical context, political ideas and social contexts of their time and connect the two areas. Accordingly, the main issue in the present study is the study of resurrection-themed miniatures in the Safavid era and the realm of their rule and also their technical and content analysis from different and abandoned aspects. The aim is to identify the Safavid dynasty and to recognize its aesthetic patterns and dominant paradigms through the thematic miniatures of the resurrection. The method of research is descriptive and content analysis with the approach of social semiotics of the image, and information is collected through documentary sources and direct observation. The question is how the transition from visual structure to meaning has taken place in the miniatures of the event of the resurrection of the Safavid era? The results of the study showed that the semantic implications of the Qur'anic miniatures of the Safavid era can be found on two levels; first, as a translation of the Qur'anic text and concepts in explicit and implicit layers, and then, through research into the context of the production of works, in order to understand the hidden and indirect social meanings. The work of art is always a reflection of the social and cultural conditions of its time, and its form and content are the product of attachments to the artist's belief system, and the work belongs to a specific way of thinking or reflects the cultural and ethnic affiliations of the history and land in which it was produced. Applying the theoretical framework of social semiotics of image showed that this method is an effective tool in reading and multifaceted analysis of Iranian painting and can address the above issues. This method reveals the formal and textual meanings of the images, the textual layers and the social references of the images through formalistic study and syntactic structure of the images, modeling from the sources of their signs, and then cataloging and analyzing the existing explicit and implicit meanings. The finding is due to the dominant discourse influences in this period. In other words, the constant presence of mixed meta-maps and narrative representation in the visual form of all these works and sources of common signs such as vector, information value, framing and visualization of images, resulting from the prevailing discourse space and uniform social pattern in this era. Shiite discourse, the most important elements of which was Mahdism and Promise, with the intelligence of its custodians to legitimize the political structure, also infiltrated symbolic systems such as painting to use it as a propaganda tool to advance the diplomatic goals of Safavid rulers. Therefore, by using the tools of social semiotics analysis of images and by passing through visual structure, common sources of signs can be found in paintings influenced by the Safavid Qur'an, which proves the establishment of the same pattern in these paintings, and based on their effectiveness can be identified and interpreted from dominant discourse. It also explains that the main motive for creating these paintings depends more on the political spirit of the time than on the doctrinal goals, and in other words, reveals their self-creation; this means that at first glance, images seem to be a tool in the service of religion, but in fact they are a tool for political-propaganda exploitation and legitimation of the institution of power. In matters related to the hereafter, what is primarily discussed is the belief in the issue of resurrection and the principle of resurrection as one of the principles of Islam, but what is evident in the analysis of the context, reference to the social context of these images and even the choice of scene is a directional choice to convey the ideological message of text producers. For this reason, we encounter the primacy of the Shiite-oriented vision over the main narrative and the promised metaphorical atmosphere of the resurrection, which is influenced by social conditions and discourse conflicts of the first half of the Safavid period. The government was established with the intention of establishing political unity in Iran. The sources of semiotics, syntactic structure, and overall visual presentation in these paintings played a role in highlighting religious goals and political discourses, but the subject and content of concepts, has played a more significant role in motivating the creation and illustration of images in conjunction with the dominant discourse of society.

The novel The Neighbors by Ahmad Mahmoud is regarded as one of the most prominent examples of the social novel in contemporary Iranian literature, offering an accurate depiction of the lives of the lower classes, workers, intellectuals, and social actors of the 1940s and 1950s (Gregorian Calendar). With a realist approach, the novel uncovers the hidden layers of social life and relations of power. Despite numerous studies on this novel, few investigations have been conducted based on Pierre Guiraud’s theoretical framework of social semiotics. Guiraud considers signs not as limited to language, but as traceable in customs, identities, rituals, behaviors, fashions, and social games (Guiraud, 1975). The purpose of this research is to analyze the representation of cultural and social signs in The Neighbors using social semiotics and to demonstrate how these signs contribute to the formation and continuity of social and political discourses within the text. The findings indicate that social etiquette and politeness in the novel reflect class distinctions and relations of power; the individual and collective identities of the characters are formed within a framework of tension between tradition and modernity; and social behaviors, whether at the individual or collective level, reflect the nature of human beings in critical situations. Furthermore, social codes such as clothing, language, and urban symbols carry class-based and cultural meanings. Ultimately, this study shows that The Neighbors is not merely a literary work but a socio-discursive text embedded with a complex network of signs. The social-semiotic analysis of this novel provides a deeper understanding of the mechanisms underlying identity, culture, and politics in Iranian society during the historical period in question.

Today, media is an integral part of people's lives. People are interested in hearing and seeing social issues through the media in order to be aware of the dangers that threaten their lives. Social documentaries are an opportunity to inform and raise awareness about social issues, and on the other hand, they provide an arena for showing the country's issues and problems in foreign media. The main question in the current research is, what image of Iran is represented in documentaries about Iran does the BBC Persian program broadcast? Social semiotics method and the "Idema" approach applied as the research method three films "And the Spider Came", "Iranian Kidney Auction" and "It's always late for freedom" were analyzed. According to the findings, the main topics of the documentary films of the Aparat program about Iran are women and children with the theme of absolute inferiority,Religion as the cause of society's problems and combined with superstitions,Inefficient and weak government institutions,culture and customs express a very traditional and petrified society. The discourse of opposition and confrontation with the Islamic Republic in this network, not only in news and analytical programs but also continues in the form of a completely believable narrative documentaries.

The ethical actions are important because of the priority of the mission goal and their close relationship with social progress and development. Therefore, the purpose of this research is the identification and social analysis of these types of actions among the verses of revelation and it deals with the effect of ethical actions in the production of social capital in the process of progress based on religious teachings and answers these questions based on the Quranic teachings. What impact do ethical actions (behavior) have on the formation of social progress? How do moral actions generate social capital and influence progress (development)? What coordinates, examples and dimensions does this group of actions have? What are the effects and consequences of this group of actions? Those actions that are desirable and progressive in the development of social interactions have been socially studied, analyzed and searched by using the inductive content analysis method. Honesty, trustworthiness and fulfillment of an obligation, altruism (Arabic: إیثار, self-sacrifice), asking forgiveness or istighfār (Arabic: استغفار ʾistiġfār), and forgiving others, kindness, non-violence, chastity and purity, patience and honesty and benevolent actions combined with social supervision have been discussed, which lead to sincerity, togetherness, coherence and expansion of social interactions and emotional relationships far from hatred and warm and emotional relationships and as a result, it causes the production of social capital and its improvement and will lead to the density of actions focused on purpose and excellence that are necessary for progress.

Introduction: Today, women are present in a variety of social settings such as family, neighborhood, school, university and workplace. In each of the social situations, women experience a degree of power exchange. School is one of the social environments in which women can achieve social, economic, and cultural capital as a student. Social space in Iran is governed by a dominant ideological approach, which has a predetermined framework for understanding and interpreting various aspects of social life and seeks to institutionalize certain beliefs in the society. Accordingly, the school has also become an ideological system that shapes the mentality of students based on the components of Islamic ideology. Coverage rules for girls in Iran are one of the processes of ideological development of the minds of students from childhood to adulthood that runs in schools. Hence, the education institution in the student's educational experience process reproduces certain beliefs and values. The educational experience of young girls involves several semiotic resources (e. g. school uniforms, queues, homework, grade, schoolyard, etc. ). Although these resources provide diverse functions such as identity, law and order, integrity and coherence for students, they can have a different representation over time, according to which students are in a disabling process, and become passive and careless people about their community. Therefore, the present study seeks to examine the critical and semantic representations of the students’ experience in the form of a semiotic analysis of the narratives of young girls about one of the sources in this experience, namely, school uniforms...

In most educational systems, textbooks are the most common tool in educating learners. The majority of textbooks add visual images with the aim of helping students have a thorough understanding of topics and contents of lessons. These visual images such as pictures, photos and paints, etc. are adopted to transmit the information of different matters. Multimodality is one of characteristics embedded in these discourses. In language teaching, the teacher also needs to use visual aids. Visual aids motivate learners, make them interested in learning, and make learning easier. Persian language textbooks for non-Persian speakers are very versatile today. Nowadays researches show that using visual (also images) and written texts together help learners more. But how are images of such books represented? There is a wide range of approaches to this matter among the existing studies on textbooks. These books have both verbal and visual layers. The understanding of meaning not only requires the analysis of language in text, but also the study of other semiotic resources, such as images, gestures or sounds. This study was an attempt to employ a multimodal analysis of educational books to ascertain the extent to which visual and verbal components create meaning. The theoretical basis of this study was social semiotic theory proposed by Kress and van Leeuwen (1996/2006)) and Halliday’ s (1976/2004) systemic functional theory which investigate images and their related texts in three meta-functions including representational, interactional (interpersonal), and compositional. The present study investigates the central concerns of the use of text and visuals within the Language learning textbooks taught at University which have been prescribed by Ahmad Saffar Moghaddam. To do this, the Language learning textbooks were evaluated and analyzed. The main objective is to “ identify the visual strategies used by writers and illustrators, to convey a representation of reality, to create interaction with readers and to form coherent wholes of communication. The results of the research findings indicate that in the analysis of the three representational, interactive and textual meta-functions of the investigated images, narrative images have very low frequency but the conceptual type has very high frequency and does not depict actions and events. In the sense of interpersonal meaning, most of the participants have more imagery and less interaction among the participants. At the contextual level, most participants are presented with long-shut images, and their location in the image indicates a participant's prominence. Due to the color of all images, the image is of a natural kind and of a high degree of realism. The illustrations in this book aim to present and understand the dominant patterns of Iranian national religious culture to its nonPersian speaking audience. Images often depict non-Iranian students and are genderrepresented equally. Out of a total of 64 analyzed images, about 8 images are the main subject of the human, 8 images are the main subject of those objects (Iranian miniature calligraphy and painting) and other images (about 48 images) are dedicated to historical and religious sites, but no images are related to the subject. Animals have not paid. One of the important and valuable points in representing these images is the strong presence of students in the images. In all of these images, male and female students and professors are interacting with each other. Another important point in the representation of these images is the emphasis and use of religious and national tools, signs, and symbols. The use of images of the shrine of Imam Reza, Hazrat Abdolazim and Imamzadeh Saleh and the mosques of GoharShad and Sheikh Lotfollah are considered as symbols of the religion of Islam. The depiction of Persepolis, the tomb of Ferdowsi, Sa´ di, Attar, Khayyam, Ibn Sina and Ferdowsi are all symbols of the national history. The simultaneous emphasis and use of these national and religious symbols together induces and strengthens the national-religious sense in the audience. In introducing the cities of Iran, the squares, the bazaar and the University of Tehran are depicted. Therefore, it can be concluded that these images reflect a fairly realistic picture of Persian-speaking life. The results of this study and the other studies (like this) can help to increase the knowledge and awareness of textbook authors in using images in the learning process of learners. The study is intended to serve as a framework for assisting authors, teachers and other professionals involved in writing and teaching textbooks that are “ appropriate for students specially students of Persian language” . Findings of the study pedagogically call for using appropriate pictures of real people and real environment which provide sufficient input for language learners.

The present research has been carried out with the aim of studying the illustrations provided in primary school Farsi and Social Instruction’s textbooks in terms of the use of gender symbols. In fact, the research aimed at finding howthese pictures will influence the students’ mentality. In this research, the illustrations in the textbooks under study have been selected based on three concepts of “family, the role of men and women”, “cooperation” and “motherhood” and the results of its semiotic study was presented. This research was of descriptive nature; obviously it was not seeking to discover the cause and effect relationships. It only described and analyzed the themes related to the research topic, i.e. “gender symbols” in primary school “Farsi” and “Social Instructions” textbooks. The method used in this research was semiotics and the statistical population consisted of all primary school “Farsi” and “Social Instruction” textbooks printed and published in school year 2010-2011. The method of sampling was purposeful non-random sampling. In the purposeful samples (also referred to as judgment samples), the researcher selects the sampling units mentally and with a predefined objective. On this basis, the unit of analysis has been all illustrations depicting the three concepts of “family, the role of woman and man”, “cooperation” and “motherhood”. The results of this research revealed that “family” and family integrity is a central motif in the illustrations presented in these textbooks. Mother as one of the pillars of family is always seen as a symbol of peace in a halo of blue color which is reminiscent of tranquility. Handling the issue of family as a topic that is subject to crisis in the modern world and gracefully dealing with the role of mothering are the advantages of these textbooks; While paying less attention to other social and economic roles of women is of disadvantages of these textbooks.